Friday, November 20, 2009

'The Artist's Signature' - Pages & Art



The above image is my title plate/opening shot. And the one below is the beach of the imagination. I often find that my concept art enhances my writing, and vice versa. So I threw in a couple.



TAS Online 01                                                                                                                                                 

I have quite a bit more written than this, nearly two-hundred pages of script and around fifty pages of background and tech, not to mention dozens of pieces of concept art. I know two-hundred pages is a pretty long movie, but I tend to write every idea I have, then pare it down later into a useful form. I have a terrific ending that I hope won't leave a dry eye in the house. I just need to flesh out the middle a little more and I've got a movie.

I think a movie should be a unified whole, both verbally and visually. I've worked out the logistics of incorporating the pi message into the alien message, and into the basic design motif of the entire film. And I have surrendered to the notion that in a work of fiction it is perfectly proper to explore the idea of god. Just look at the bible.

My take on a film version of 'Contact' is that the 'download' should constitute the body of the movie. Start with Ellie on the beach, more or less, visualize her unwound memories, and then return to 'reality' about three-quarters the way in. This allows far more freedom than a straight linear telling. I can jump around in time the way a mind at rest naturally meanders from place to place. Of course whatever memories I touch upon must contribute to the larger story.

It occurs to me that Zemeckis may have been trying to do exactly this with the eye 'pull out' and 'push in' at the beginning and end of the '97 film. But subtlety is relative, and in this case was indistinguishable from background noise.

Anyway, I think this material deserves better.

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